起信論疏 2.6.4

2.6.4

「應知外道」以下，第三簡別真偽。 初中即明五雙十事：一者現形說法為雙、二者得通起辯為雙，謂從「或令人」以下，乃至「名利之事」也。 三者起惑作業為雙，謂「又令使人」以下，乃至「種種牽纏」也。 四者入定得禪為雙，謂從「亦能使」以下，乃至「使人愛著」也。 五者食差顏變為雙，文處可見也。 問：如見菩薩像等境界，或因宿世善根所發，云何簡別，判其邪正？ 解云：實有是事，不可不慎。 所以然者，若見諸魔所為之相，謂是善相，悅心取著，則因此邪僻，得病發狂。 若得善根所發之境，謂是魔事，心疑捨離，即退失善利，終無進趣。 而其邪正實難取別，故以三法驗之可知，何事為三？ 一以定研磨、二依本修治、三智慧觀察。 如經言「欲知真金，三法試之，謂燒、打、磨。 」行人亦爾，難可別識。 若欲別之。 亦須三試，一則當與共事； 共事不知，當與久共處； 共處不知，智慧觀察。 今藉此意以驗邪正，謂如定中境相發時邪正難了者，應當深入定心，於彼境中不取不捨，但平等定住。 若是善根之所發者，定力逾深，善根彌發； 若魔所為，不久自壞。 第二依本修治者，且如本修不淨觀禪，今則依本修不淨觀，若如是修境界增明者，則非偽也； 若以本修治漸漸壞滅者，當知是邪也。 第三智慧觀察者，觀所發相，推驗根原，不見生處，深知空寂，心不住著，邪當自滅，正當自現。 如燒真金，其光色若，是偽亦爾； 此中定譬於磨，本猶於打，智慧觀察類以火燒，以此三驗，邪正可知也。 問：若魔能令我心得定，定止邪正，如何簡別？ 解云：此處微細，甚難可知，且依先賢之說，略示邪正之岐。 依如前說九種心住門次第修習，至第九時，覺其支體運運而動，當動之時，即覺其身如雲如影、若有若無、或從上發、或從下發、或從腰發、微微遍身； 動觸發時，功德無量。 略而說之，有十種相：一靜定、二空虛、三光淨、四喜悅、五倚樂、六善心生起、七知見明了、八無諸累縛、九其心調柔、十境界現前。 如是十法，與動俱生，若具分別，則難可盡。 此事既過，復有餘觸次第而發。 言餘觸者，略有八種：一動、二痒、三涼、四暖、五輕、六重、七澁、八滑。 然此八觸，未必具起，或有但發二三觸者； 發時亦無定次，然多初發動觸，此是依麁顯正定相。 次辨邪相，邪相略出十雙：一增減、二定亂、三空有、四明闇、五憂喜、六苦樂、七善惡、八愚智、九脫縛、十強柔。 一增減者，如動觸發時，或身動手起，脚亦隨動； 外人見其兀兀如睡，或如著鬼，身手足紛動，此為增相。 若其動觸發時，若上若下，未及遍身，即便壞滅，因此都失境界之相，坐時蕭索，無法持身，此為減相。 二定亂者，動觸發時，識心及身，為定所縛，不得自在； 或復因此便入邪定，乃至七日，此是定過； 若動觸發時，心意餘亂舉，緣異境，此為亂過也。 三空有者，觸發之時，都不見身，謂證空定，是為空過； 若觸發時，覺身賢實，猶如木石，是為有過也。 四明闇者，觸發之時，見外種種光色，乃至日月星辰，是為明過； 若觸發時，身心闇昧，如入闇室，是為闇過也。 五憂喜者，觸發之時，其心熱惱，憔悴不悅，是為憂失； 若觸發時，心大踊悅，不能自安，是為喜失也。 六苦樂者，觸發之時，覺身支體處處痛惱，是為苦失； 若觸發時，知大快樂，貪著纏縛，是為樂失也。 七善惡者，觸發之時，念外散善，破壞三昧，是為善失； 若觸發時，無慚愧等諸惡心生，是惡失也。 八愚智者，觸發之時，心識迷惑，無所覺了，是為愚失； 若觸發時，知見明利，心生邪覺，是為智失也。 九縛脫者，或有五蓋，及諸煩惱，覆障心識，是為縛失； 或謂證空得果，生增上慢，是為脫失也。 十強柔者，觸發之時，其身剛強，猶如瓦石，難可迴轉，是為強失；

From "It should be known that non-Buddhists" downward is the third [part], distinguishing the genuine from the false. First, it clarifies five pairs and ten matters: first, manifesting forms and preaching the Dharma make a pair; second, attaining supernormal powers and producing eloquence make a pair—that is, from "or causing a person" downward to "matters of fame and profit." Third, giving rise to afflictions and creating karma make a pair—that is, from "again causing a person" downward to "various entanglements." Fourth, entering absorption and attaining dhyāna make a pair—that is, from "also able to cause" downward to "causing a person to become attached." Fifth, food differences and changes of complexion make a pair, which can be seen in the text. Question: If realms such as seeing images of bodhisattvas arise due to roots of goodness from past lives, how does one distinguish and judge what is false and what is correct? Answer: Indeed, there are such matters, and one cannot fail to be cautious. Why is this? If one sees manifestations wrought by māras, takes them to be good signs, and delighting one's heart grasps after them, then through this deviance one will fall ill and go mad. If one attains realms produced by roots of goodness, takes them to be the work of māras, and with doubt in mind abandons them, then one will retrogress and lose the benefit of the good, never making progress. Yet what is false and what is correct are truly difficult to distinguish; therefore, testing them by three methods enables one to know. What are the three matters? First, polishing by means of samādhi; second, practicing according to one's original meditation; third, observing with wisdom. As a sūtra says: "If one wishes to know genuine gold, test it by three methods: namely, burning, striking, and polishing." Practitioners are also like this: they are difficult to distinguish and recognize. If one wishes to distinguish them, three tests are also required: first, one should work together with them; if one does not know from working together, one should live together with them for a long time; if one does not know from living together, observe with wisdom. Now, relying on this meaning to test the false and the correct: when realms and signs arise in samādhi and the false and the correct are difficult to understand, one should deeply enter the mind of samādhi, neither grasping nor rejecting within that realm, but merely remaining in equanimous samādhi. If it is produced by roots of goodness, the deeper the power of samādhi, the more the roots of goodness will flourish; if it is wrought by māras, before long it will naturally disintegrate. Second, "practicing according to one's original meditation": for example, if one originally practiced the dhyāna of the contemplation of impurity, one now relies on one's original contemplation of impurity to practice; if one practices in this way and the realm becomes increasingly clear, then it is not false; if by practicing according to the original it gradually disintegrates and ceases, one should know that it is deviant. Third, "observing with wisdom": one contemplates the manifested signs and investigates their origin; not seeing any place of arising and deeply knowing their emptiness and tranquility, the mind does not dwell or attach, so the deviant will naturally be extinguished and the correct will naturally appear. Just as when genuine gold is burned, its luster and color [remain], and if it is counterfeit it is also [revealed]; here, samādhi is likened to polishing, the original [meditation] is like striking, and observing with wisdom is analogous to burning with fire. By these three tests, the false and the correct can be known. Question: If a māra can cause my mind to attain samādhi, how does one distinguish between false and correct samādhi? Answer: This point is subtle and extremely difficult to know; for now, relying on the explanations of past worthies, I shall briefly indicate the fork between the false and the correct. When one practices progressively according to the previously explained gate of nine states of mental abiding, upon reaching the ninth, one feels one's limbs stirring and moving. When they move, one feels one's body to be like a cloud, like a shadow, as if existing and as if not, arising either from above, or from below, or from the waist, faintly pervading the entire body; when the tactile sensation of movement arises, its merits are immeasurable. Briefly speaking, there are ten aspects: first, serene samādhi; second, empty openness; third, radiant purity; fourth, joy; fifth, supportive bliss; sixth, the arising of wholesome thoughts; seventh, clear knowing and seeing; eighth, freedom from entanglements; ninth, pliancy of mind; tenth, the realm manifesting before oneself. These ten phenomena arise together with the movement; if fully distinguished, they could hardly be exhausted. After this matter passes, other tactile sensations arise in succession. As for "other tactile sensations," there are briefly eight kinds: first, movement; second, itching; third, coolness; fourth, warmth; fifth, lightness; sixth, heaviness; seventh, roughness; eighth, slipperiness. However, these eight tactile sensations do not necessarily all arise; some may experience only two or three tactile sensations. When they arise there is also no fixed sequence, yet most often the sensation of movement arises first; this clarifies the aspect of correct samādhi according to the coarse. Next, we distinguish the false aspects; the false aspects briefly come in ten pairs: first, increase and decrease; second, samādhi and distraction; third, emptiness and existence; fourth, brightness and darkness; fifth, sorrow and joy; sixth, suffering and pleasure; seventh, good and evil; eighth, foolishness and wisdom; ninth, release and bondage; tenth, rigidity and softness. First, "increase and decrease": when the tactile sensation of movement arises, perhaps the body moves, the hands lift, and the feet follow in motion; outsiders see one motionless as if asleep or as if possessed by a ghost, with body, hands, and feet erratically moving—this is the aspect of increase. If when the tactile sensation of movement arises, whether above or below, it ceases before pervading the entire body, and thus one entirely loses the aspect of the realm, sitting desolately with no way to support the body—this is the aspect of decrease. Second, "samādhi and distraction": when the tactile sensation of movement arises, consciousness and body are bound by samādhi and do not attain ease; or because of this one enters a deviant samādhi, even up to seven days—this is the fault of samādhi. If when the tactile sensation of movement arises, the mind is distracted, agitated, and takes different objects as conditions—this is the fault of distraction. Third, "emptiness and existence": when the tactile sensation arises, one does not see the body at all and thinks one has realized samādhi of emptiness—this is the fault of emptiness. If when the tactile sensation arises, one feels the body to be solid and real, just like wood or stone—this is the fault of existence. Fourth, "brightness and darkness": when the tactile sensation arises, one sees various external lights and colors, even the sun, moon, and stars—this is the fault of brightness. If when the tactile sensation arises, body and mind are dim and dark, as if entering a dark room—this is the fault of darkness. Fifth, "sorrow and joy": when the tactile sensation arises, the mind is feverish and troubled, haggard and displeased—this is the error of sorrow. If when the tactile sensation arises, the mind leaps with great joy and cannot settle itself—this is the error of joy. Sixth, "suffering and pleasure": when the tactile sensation arises, one feels pain and torment in all the limbs of the body—this is the error of suffering. If when the tactile sensation arises, one experiences great pleasure and becomes greedily attached and entangled—this is the error of pleasure. Seventh, "good and evil": when the tactile sensation arises, one recollects external, distracted wholesome things and ruins samādhi—this is the error of the good. If when the tactile sensation arises, lack of shame and remorse and other evil thoughts arise—this is the error of evil. Eighth, "foolishness and wisdom": when the tactile sensation arises, the mind-consciousness is confused and perceives nothing—this is the error of foolishness. If when the tactile sensation arises, knowledge and seeing are sharp and clear, but false perceptions arise in the mind—this is the error of wisdom. Ninth, "bondage and release": either the five hindrances and afflictions veil and obstruct consciousness—this is the error of bondage; or one thinks one has realized emptiness and attained the fruit, giving rise to overweening pride—this is the error of release. Tenth, "rigidity and softness": when the tactile sensation arises, the body is rigid and stiff, just like tiles or stone, and difficult to turn—this is the error of rigidity;